The film follows two neurotic (a love shy boy Chris and a cripple C.G.) butt buddies who just can’t seem to land a girl (C.G. isn't even trying)l. A group of Aryan frat Nazis act as the evil and dumb villains. In an act of belligerent courage the crippled C.G. says to the frat Gestapo, “why don’t you get off our case and practice goose stepping or something.” This scene is to demonstrate to the viewer that anyone with physical strength and blonde hair is a potential Nazi. Later you see the frat leader wearing a wife beater with a German eagle to confirm his Aryan ethnocentrism.
Determined Nazi Hunters from the school of Simon Wiesenthal
Chris eventually gets to legitimize his desire for a holocaust of Aryans. All of the frat boys turn into zombies Bill Hinzman style and Chris decides it’s time to unload some bullets. When he blows the heads off of the zombie frat leaders he adds the strategically placed one liner, “don’t take it personally” with sadistic fan boy whit. The pathetic hatred fantasy involved in these scenes almost legitimizes Fritz Hippler’s The Eternal Jew as a serious film.
Night of the Creeps is what would happen if the history of American horror had sex with John Hughes and produced the ideal mongrel child. The film is one that offers much replay value and movie quoting potential. I have gotten fed up with these film “qualities.” I guess that is what happens when you are introduced to the world of international horror (among other films). On the other hand, I would be lying if I didn’t admit that Night of the Creeps is a masterwork of it’s silly kind.
I still believe that Fred Dekker’s greatest contribution to film is coming up with the story for House. A bizarre horror comedy involving the Vietnam war (and other serious issues) is a pretty bold and innovative idea. Night of the Creeps further confirms Fred Dekker’s knack for creative and genre abstracting writing. I just hope that Night of the Creeps has not inspired anyone to write "Go, Monster Squad!" in a public bathroom.